TeenTix Blog

Photo by Sol VillarrealThe Seattle Youth Commission exists to represent the interests of teenagers directly to local elected officials, and it presents a great opportunity for young people to engage directly with decision-makers on issues that are important to them. Do you have an opinion? Want to help influence policy and represent youth interests in the city? Love the idea of meeting with folks like Seattle’s Mayor, City Attorney, Police Chief, and City Councilmembers?Then this is the job for YOU!The Youth Commission is a big time commitment, but the more active, engaged young people who are part of the Commission next year, the more effective it’s going to be in representing the interests of as many different youth across the city as possible. The Commission is open to Seattle residents between the ages of 13 and 19, and the deadline to apply is May 4th; they’ll be doing interviews on a rolling basis as applications are received, so the sooner you apply, the better your chances of getting a good interview slot.The Seattle Youth Commission application is now online here: http://seattle.gov/sycCheck it out!

photo by Pierre Grosbois Review of Vivarium Studio's L'effet de Serge at On the Boards by Chloe L. From the moment the play starts you realize that this is not a play just like any other. The play revolves around Serge, skillfully played by Gaëtan Vourc'h, who is introduced to you as "someone who creates shows from 1 to 3 minutes in length.” While this introduction happens in the opening of the performance, by the time the ending of the play comes around, that is all you know about Serge-- he creates shows. Every Sunday, Serge invites one or two of his friends over for one of his shows, which are surprisingly average. Nothing about these "micro-performances" is created for any sort of shock and awe. Yet, after the show is finished, his audience member goes on about the magic and meaning of the performance, which you somehow missed. This antithetical reality leaves you wondering what they are so excited about, because the show was not as amazing as they are describing it to be. You wonder who these people are that are coming over to Serge's house and why they are there. By the end of the performance, these questions still linger in your head, and driving home you realize that it is a play without a point, something you rarely see. There was no moral, no ending, no climax, just one question: why? The show is mundane; it gives you a glimpse into someone's rather boring life. But you are somehow not bored, the audience passes the time always questioning what everyone on stage is thinking, what they are doing, and why. By the end of the play, you realize that the characters are doing nothing, just trying to make their lives worth something. They are searching for a piece of entertainment that they can't find elsewhere. You leave with more questions than answers, you leave wondering why you came. L'effet de Serge has already closed. Next up at One The Boards: Catherine Cabeen and Company • Into the Void Apr 28 - Apr 30

With its added performance on April 19 virtually sold out along with the rest of the run, Taproot Theatre is extending The Beams are Creaking. Originally slated to close on April 23, the show—by Douglas Anderson and directed by Karen Lund—now runs through April 30, with additional performances on April 28 at 7:30 p.m. and April 29 and 30 at 8 p.m. Tickets are now available through Taproot Theatre’s box office at 206-781-9707 and online at www.taproottheatre.org.Set in Germany in 1933, the Nazi party has taken power. In the face of the greatest evil of the 20th century, Dietrich Bonhoeffer battles questions of morality, political allegiance and religious conviction, and must make choices that could change the course of history. This true story will keep audiences on the edge of their seats.

Review of A Midsummer Night's Dream at Pacific Northwest Ballet by Bethany B.

Review of Gamelan Gadhon at Cornish College of Arts by Alyssa T. Soft-style gamelan music is the music of ancient princes. It’s the music you’d ask for as the king of Indonesia, surrounded by elephants in a room ornately decorated with rose petals, candles, and incense. It’s the kind of music you want to fall asleep to, and the kind of music that lulled my mind and lifted my spirits during Gamelan Gadhon's Cornish performance. But as much as I yearn to appreciate gamelan music while it was being played for me, as much as I would like to say I was absolutely blown away by the masterfully played world music of Cornish College of the Arts’ Indonesian-instrument playing group, Gamelan Pacifica (the parent ensemble of Gamelan Gadhon), the fact is I wanted to leave midway through the second song. Don’t get me wrong. The quality of the musicians is nothing short of topnotch, each instrument is a finely crafted work of art, and the strangely chaotic song compositions are brilliantly harmonized, but the presentation of this soothing, almost spiritual, style of music felt stifled. I have no doubts that “Gamelan Pacifica is among the finest ensembles in the United States devoted to the performance of gamelan music.” But after listening to the performance, I honestly feel the group would have been much more appreciated in an open and relaxed environment. Imagine walking down the Pike Place market on a warm day with the sun gently gracing your cheeks. Through the bustle of the crowd, you hear hints of the kendhang, the Javanese drum, which immediately spark your interest. As the curiosity of your ears pulls you towards the sound, a calm internal peace comes over you, and suddenly, you understand the serene expressions on the musicians’ faces. In a place of fresh air and energy, the power and beauty of the gamelan music is on full display. Now imagine a fairly small stage barely large enough to fit the musicians and their instruments, and seats that restrict audience members to sitting and staring. The results just aren’t the same. By saying what I am about Gamelan Gadhon, I don’t mean to pass any negativity onto Cornish College of the Arts whatsoever. In fact, I think they’re wonderful for bringing something so different and unconventional to Seattle. They did all in their capacity to bring gamelan music to Seattle, and they absolutely succeeded. All I’m doing is stating an opinion on temporal art I probably wouldn’t have realized had I not gone to Poncho Hall that night. For me, seeing something new and out there is always rewarding, regardless of whether I see perfection in the performance or not. If the same thing goes for you, and you haven’t seen world music yet, I encourage you to still see Gamelan Gadhon. This may be off-limits for me to say, but the end of this month, Gamelan Pacifica will be performing with guest dancers and musicians at Meany Hall [Editor's note: this performance is NOT Teen Tix eligible]. I hope you will give them a chance to rock your world. Next up in Cornish College of the Arts' Music Series: Jazz into Blues: An Evening with Kelly Harland Saturday, April 16 @ 8 PM More info at cornish.edu

A Midsummer Night's Dream @ Pacific Northwest BalletPhoto © Angela SterlingGeorge Balanchine once played an elf in A Midsummer Night's Dream. This was when he was a little kid in Russia, but he reportedly remembered numerous lines from the play and, after he grew up and became a world-famous choreographer, he loved to quote them (in, y'know...Russian).You won't hear many (or any) of those lines in PNB's celebrated staging of Balanchine's Midsummer. This is a story told through dance. And what a dance it is; dance writer Anita Finkel has called Balanchine's Midsummer“possibly the greatest narrative ballet of all time.” It's a big, lush, fantastical production with incredible dancing and a story you can follow. What's not to love?A Midsummer Night's DreamPacific Northwest BalletApril 8 - 17

How do set designers do what they do? Here's Seattle Rep design associate (and all around great guy) LB Morse talking about designing the set for the Rep's upcoming production This. You might be familiar with LB's work, even if you don't know it. As a light and set designer, he's recently helped create the worlds for Rep productions The K of D and Dancing at Lughnasa, Seattle Shakes' The Tempest, and "Awesome"'s West at On the Boards.Read more about LB here.ThisSeattle Repertory TheatreApril 8 - May 15Recommended for ages 16+ for profanity, adult situations

We love coming in to work on Monday and finding a twitter feed like this:(click to enlarge)Tears of joy. TEARS OF JOY! We love you, too, thundy08! Welcome to Teen Tix.And, if you're wondering what the rest of the buzz is about, you'd better read Ehrik A.'s awesome review of All My Sons at Intiman, which he praises as a "must-see."Happy Monday from Teen Tix HQ!

This is an awesome piece of writing. Your college essays must have thrived. :D

I have not seen this play, but reading your review makes me want to see it! You really highlight the actors and their acting abilities--nice job!

I agree George and Lennie were great and very believable as best friends. The ending was so poignant and moving.

Review of All My Sons at Intiman Theatre by Ehrik A.Chuck Cooper and Reginald JacksonPhoto by Chris BennionIn order to prepare for this review, I took a trip deep through the box-filled jungles of the family garage to procure a frail, dusty, water-damaged, and horribly annotated copy of All My Sons—thanks, Dad. Admittedly, I feared that going to review such a respected and reproduced classic as this set itself up to sounding a little like another one of my English papers without adding much that hasn’t already been said about this play. Synopsis: Set in America during the aftermath of World War II, Arthur Miller’s All My Sons explores the conflicting personal, familial, and societal commitments that ultimately limit the achievability of the American Dream.However, in her Intiman debut, director Valerie Curtis-Newton brings a new lens to Miller’s work by setting the play closer to home in Seattle's Central District with a non-traditional African-American cast led by Tony Award-winning actor Chuck Cooper. The decision works exceptionally well and adds a unique element to the show that not only fits the play’s themes, but also enhances them.Reginald Jackson, Nicole Lewis, Chuck Cooper and Margo Moorer Photo by Chris BennionThe story centers on factory owner Joe Keller (Cooper), who is suspected of allowing faulty airplane parts to be shipped, resulting in the deaths of 21 military pilots during World War II. Although Joe was eventually exonerated, his business partner Steve Deever was sent to prison for the crime. Nevertheless, the issue resurfaces again when the two men’s children begin to discover the answers to unresolved questions and ultimately find out the ethical dilemmas one may face when trying to achieve the American idea of success.The acting is consistently terrific with Joe, his wife Kate (Margo Moorer), and their son Chris (Reginald Jackson) standing out among the ensemble. Perhaps the best and most touching moments of the play occur when these three characters are on stage together, and each role equally contains the capacity for you to see a bit of yourself in their thoughts and actions.Whether or not the translation of a traditionally white cast of characters in the Midwest to an interracial one in our own Pacific Northwest is historically plausible is irrelevant. The characters’ race never distracts from the core issue of the play, and if anything, it sets the stakes higher as a chance at racial equality implicitly becomes a factor in the conflict between self-interest and self-sacrifice (this may not make sense now, but watch the play and have your questions answered!). Furthermore, the reimagining adds dialectical flair to the original text as the actors employ an African-American cadence, adding a more natural lightness and humor to the dialogue.This particular incarnation of All My Sons was a fitting way to kick of this crucial season at Intiman, taking a classic American story in an adventurous new direction. Uniformly thought-provoking and enjoyable, this one is a must-see.All My SonsIntiman TheaterThrough April 17

Review of Of Mice and Men @ Seattle Rep by Jamie K.Most people think of Of Mice and Men as a novel, but fewer realize that John Steinbeck himself adapted it for the stage in 1937, the same year that the book was published. The story examines the plight of migrant workers in the 1930s. The two main characters show what friends really are, with George leading the way, and Lennie always faithfully following him.Charles Leggett as Lenny and Troy Fischnaller as George. Photo by Chris Bennion. Troy Fischnaller and Charles Leggett play the unforgettable roles of George and Lennie. The memorable pair travel to a ranch to try to raise enough money to get a place of their own. My first impression of the portrayal of George was that he was too angry and mean. But as the show goes on, Fischnaller’s performance really grows on you. He provides just the right amount of anger, sympathy, sadness, and humor. Fischnaller really portrays the part the way it should be played: a tough man, who gets irritated rather quickly, yet has a soft side. Leggett, who plays the part of Lennie, makes you laugh, cry, and feel sorry for him. Leggett and Fischnaller make a great combination for the parts of George and Lennie, by convincing the audience of their deep friendship and loyalty.The other actors really show how versatile they are. Seanjohn Walsh plays the part of Curley. In the book, you see Curley as a hard, angry man with a hand full of vaseline. But instead Walsh plays the part stuck up and vain, which evokes a laugh every time he comes on stage. He adds a comedic side that helps people cope with the hard issues in the play.Charles Leggett as Lenny and Elise Karolina Hunt as Candy’s Wife. Photo by Chris Bennion. Seattle Rep has a history of putting up great sets. In this production they didn’t hit a home run. The set is very good, but it just doesn't stand out. In the production they show all of the houses without walls, which is fine, if you can make it work. But they don’t come through; a couple times actors walked through walls instead of the doorways. That was the only item in the production that wasn’t great.Of Mice and MenSeattle Repertory TheatreThrough April 10

Review of The Owl and The Woodpecker @ The Burke Museum by Samantha V.A female Snowy Owl's brood patch is visible as she returns to the nest.Photo by Paul BannickHave you ever seen an owl on the hunt, or heard a woodpecker as it hammers away on a tree? The Burke's newest exhibit, The Owl and The Woodpecker, gives you a chance to experience these things for yourself. This exhibit is made up mostly of beautiful nature photos of our native owls and woodpeckers taken by Paul Bannick, and with the sound of these birds in your ears and what feels like all their eyes following you, this exhibit sheds light on some creatures we don't often see.I have to say that as far as nature photography goes, Bannick is really good. He can capture a moment in an animal's life in a way that engages and makes sense to us without humanizing them too much. For instance: a Yellow-shafted Northern Flicker gets really startled when his mate pops her head out of their nest cavity, a Snowy Owl stares solemnly at you as the sun sets on its tundra home, and an Acorn Woodpecker looks out on the world surrounded by it granary full of acorns. These photos are not only wonderful to look at, but also are very inspiring in that they offer us a look at some of the many creatures that make our environment unique and what we can do to keep it that way.A Hairy Woodpecker excavates a cavity in a quaking aspen tree.Photo by Paul BannickThere was one thing that wasn't a photo that truly caught my eye: a case full of wings. The wing of a Great Horned Owl is at least a foot and half long. It really put into perspective how large and how small these birds are. But no matter how big or small, there will always be things that make them special. From a woodpecker's hard head and dramatic colors to an owl's silent wings and big eyes. It is amazing how these birds survive and with enough help, it is likely that the woods of Washington State will never be without them.The Owl and the WoodpeckerThe Burke MuseumThrough August 7, 2011

Review of The Beams Are Creaking at Taproot Theatre by Callan C.Matt Shimkus as Dietrich Bonhoeffer. Photo by Erik Stuhaug.I’ve heard it said that good art makes you think. If that is the case, then The Beams are Creaking at Taproot Theatre definitely fits into the category of good art. As the true story of German pastor and theologian Dietrich Bonhoeffer, a martyr in the German resistance during World War II, the play forces the audience to question religion and morality just as Bonhoeffer did. The show begins in Germany in 1933, just as Adolf Hitler and the Nazis are taking power. Bonhoeffer quickly becomes appalled at the Fuhrer’s overwhelming dominance of the government, and at the constricting hold being placed on the German Church. As the book burnings, arrests, and persecution of Jews escalate, Bonhoeffer knows he must take action, but struggles to choose between resistance and all-out treason. His decision has the power to not only affect his life and others’, but to change the course of the war.Though stories of sacrifice during World War II are not uncommon, Dietrich Bonhoeffer’s is one that is seldom told. Thankfully, Taproot Theatre’s production of The Beams are Creaking allows Bonhoeffer’s self-sacrifice to be seen and appreciated. The characters, although of a different time and place, are relatable. Bonhoeffer himself (played by Matt Shimkus) is a charismatic leader. In Taproot’s intimate setting, the play takes on a personable quality, as though these characters are inviting us to witness their lives up close. An unexpected aspect of the play is the reflection of Bonhoeffer’s love for music; church hymns, in particular, add a soft sense of hope to the production. While I noticed minor errors in speech and song, they were few and to be expected on opening night. I appreciated the timing of the play, which moves quickly without overly long scenes or boring dialogues. The juxtaposition of humor and seriousness is a nice touch – even in seemingly dire situations, the actors are able to get an unforeseen laugh from the audience. Although a historical play of this type could be dull if not performed well, I found this particular show to be engaging and somewhat suspenseful. Even when I already knew the ending, I still found myself wondering what would happen next.I cannot vouch for the 100% historical accuracy of this play. There are moments that seem a little questionable, including one where a prison guard shows amazing sympathy for Bonhoeffer. Yet despite such moments, this play is educational and thought-provoking. Even for teens living in Seattle in the 21st century, this production still holds questions and ideas that are new and relevant. So if you like good art, try The Beams are Creaking and prepare for some serious thought.The Beams Are CreakingTaproot TheatreThrough April 23

To quote the all-wise and ever-helpful Sassy Gay Friend of YouTube fame, “What are you doing. What. What. What are you doing.” Right now, I hope that your answer to this question is not “Sitting at home on Facebook,” or “Watching reruns of Project Runway” (Mondo was robbed), because cool things are happening. Weird things. Funky things. Things that you are not quite sure the significance or meaning of, but that make you laugh all the same. Things with strange instruments. Things with dirt. These things are all often happening in their own right, but rarely do such auspicious events combine into one, funky, eclectic whole. Right now in Seattle, it has, in My Arm is Up in the Air, in the shoebox-like Studio Theater at On the Boards. The one-man, one-hour show stars Charles Smith, a long-time fixture of Seattle fringe theater. Smith certainly makes the most of his hour, and the show reaches in about a thousand different directions. Smith digs into his childhood, pop culture, and Seattle history. The aforementioned dirt comes into the picture when Smith discusses the 1916 Denny Regrade, which was at the time the largest earthworks ever. Seattle leaders decided that Denny Hill had been inconveniently placed by God and was blocking off the northern growth of the city, and so they decided to completely flatten it, to the surprise and anger of some local homeowners, who were stranded atop sudden towers of earth after refusing to abandon their property. As Smith discusses the regrade, dirt rains down from the ceiling, scattering across the stage and his body, as he revels in it. The numerous musical interludes that Smith scatters through the work are as funky as the monologues. Smith sings and plays on the hammered dulcimer, autoharp, and bowed psaltery, which I had never seen until that night and may never again. The songs, in numerous languages, often fail to live up to the rest of the play. Certainly they are a novelty, but they pale in comparison to Smith’s monologues. Words he plays like a master, but the music and singing lacked the same expertise and quality. Though the monologues are excellent, teenage patrons must be warned that some of the pop culture references in this show are obscure. Really obscure. Like before-1980 obscure, which as we all know is before the dawn of recorded history. I followed Smith through The Brady Bunch references, kept up with the Clinton administration jokes, but in some places just got plain lost. Advice to teenagers: laugh along with the thirty- and forty-somethings while nodding reminiscently when this happens. I will not remember My Arm is Up in the Air as the most interesting show I saw this year. Nor will I mark it as the funniest, wittiest, kookiest, craziest, most unexpected, beautiful, or fascinating show of 2011. To its credit, this is because it tries to do all these things, and it succeeds in defiantly being its own, little, weird self. My Arm is Up in the Air On the Boards FINAL NIGHT TONIGHT: Monday, March 28

Tucker, your honesty and sense of humor make your reviews a pleasure to read. Keep up the awesome work.

Ambient Intimacy @ NW Film ForumThe cool kids from local film collective The Beta Society bring us this one-night-only exploration of how YouTube, facebook, WikiLeaks, and their ilk have made all our secrets public and our most intimate moments "ambient." Ambient Intimacy presents a selection of the web's most notoriously intimate moments; blogger moms, live interactive Facebook profile construction game, chat roulette on the big screen, and generally a show-and-tell unlike anything you’ve experienced in a theater before. Be a part of it!NOTE: due to the improvisational nature of this event, it is difficult to predict content. Discretion is advised.

ONE NIGHT ONLY: Ambient Intimacy @ Northwest Film ForumCAPITOL HILLFri Mar 25more info

Review of The King's Proposal at Seattle Musical Theatre by Rachel T. Do you enjoy laughing until tears come to your eyes? Does the thought of Monty Python and Shakespeare thrown in a blender appeal to you? Do wittily worded silly songs about being lost “not physically, but emotionally” and fairy tale creatures “getting freaky” entice you?

Review of Shostakovich's Symphony No. 5 @ Seattle Symphony by Bethany B. When I was little, the worst place I could possibly imagine was the symphony. I hated sitting for what seemed like hours just listening. A play or ballet was infinitely better than the orchestra. At the ballet, you see beautiful dancers and hear amazing music. The symphony, with the black clad stationary musicians, was just half the package!